All major topics in music literature. "Musical literature" as a subject of the musical-theoretical cycle in institutions of additional education

Musical literature(lat. musica litteris) - a subject studied in secondary and higher musical institutions. The basis of the subject is the study of creative activity, as well as the biographies of composers who are classics in world music.

History of origin as an academic subject

The subject "musical literature" is the property of the exclusively domestic system of musical education. The system of music education in Russia has historically developed as a three-tier system: a music school - a college - a university. Each link performs a specific function: the music school provides general music education, the college and university - vocational training.

The modern model of music education was finally formed by the end of the 30s of the XX century, when there was a stratification into lower, middle and higher levels. In the pre-revolutionary practice of teaching music, private lessons in playing, singing or composition occupied a firm place. At the same time, students, as a rule, did not receive musical-theoretical and musical-historical information. Public lectures held in St. Petersburg since the 1830s helped fill this gap only partly. Music classes at secondary and higher educational institutions, gymnasiums, colleges, and universities also played an important role in the spread of musical culture. It is especially necessary to note the closed women's institutes, the training system of which included not only playing the instrument, but also solfeggio, harmony, and teaching practice. A similar scheme later became the basis for the curriculum of the conservatories, where the history of music became one of the most important subjects of the curriculum.

The content of the subject "Musical Literature" was developed by the outstanding music historian, professor of the Moscow Conservatory Valentin Eduardovich Ferman at the turn of the 30s - 40s of the XX century. The idea was to preface the study of the history of music with a subject that would provide a knowledge of music first and foremost. It was decided to concentrate the main base in the middle tier of the musical education system.

Subject of study

The overall goal of the course is to familiarize students with the treasury of the heritage of world musical culture. More specifically, this is an expansion of the musical horizons, instilling interest and love for music, the development of artistic taste, the development of an active, conscious perception of a piece of music.

Unlike music schools and courses in the history of music in universities, children's music schools, etc., this subject is mainly aimed at aesthetic education: to teach how to listen, perceive and understand music; educate a competent listener, a music lover. In the course of study, the subject "listening to music" occupies an important place, which is aimed at solving the main tasks of music history education at school. The music school presupposes general musical training. Therefore, the most famous teachers are of the opinion that the chronological nature of the passage of the material is optional. For example, the peculiarity of E. B. Lisyanskaya's program - we hear, then speak - comes from auditory perception. Accumulation of facts and knowledge is secondary material that complements the auditory experience.

The course of musical literature is one of the most important in the system of musical training of students. This is a subject, classes in which, along with the specialty (piano, guitar, button accordion, vocals, etc.) and solfeggio, are held throughout the entire period of study. Synthesizing by nature, it combines elements of musical-historical, musical-theoretical, aesthetic and general humanitarian knowledge. The skills acquired in the course of classes are necessary for the formation of both an amateur musician and a professional musician. They are primarily associated with the education of the unity of auditory, emotional perception and logical thinking. A feature of the subject is its versatile ties with other disciplines. At the lessons of musical literature, the knowledge gained in the study of solfeggio and special subjects is deepened and improved. So, for example, in the classroom at the same time there is a consolidation of skills: auditory analysis; analysis by notes; the ability to apply performance skills in practice and in solfeggio.

Literature

• Bokshchanina E. Methods of teaching music literature at the school. - M.: Muzgiz, 1961 .-- 72 p.
• Geilig M. Essays on the methodology of teaching musical literature at the school. - M.: Music, 1966 .-- 58 p.
• Golubeva L. About the new concept of the musical literature course for children's music schools // Musical education. - 2007. - No. 1. - S. 39−43.
• Lagutin A. Musical literature as a subject of school teaching// Questions of methods of primary music education. - M.: Music, 1981.
• Nikiforova V. On the continuity in the teaching of musical history disciplines in the training of a musicologist// Questions of teaching musical history disciplines: Sat. tr. - M.: State. Moose. Ped. Institute them. Gnesin, 1985 .-- S. 34-51.
• Orlova E. Methodological notes on musical history education in conservatories. - M.: Music, 1983 .-- 43 p.

Music literature is primarily the science of singing.

If solfeggio and singing lessons teach notes, intervals, tonality - this is called musical literacy. On it, you not only train your ear for music, but also learn to touch your instrument correctly, play expressively and beautifully, performing melodies.

Music literature and singing lessons teach how to play expressively and beautifully. Why is music literature needed?

The fact is that music has its own unique musical language, a special language. There are no words we are used to, only sounds. These sounds are not simple, but magical, like a vocal studio, which can not only make you laugh, but also cry, and also tell a whole story.

You already know some of the music literature. For example, minor and major. Sad music is most often in minor, and cheerful music is in major. Fast music differs from slow tempo. Sometimes there is music in major, and cheerful music in minor. It turns out yes, it really does. The nature of the music depends, of course, on the scale (minor and major are scales), as well as on many secondary things that are called means of musical expression. Mojar and minor, together with musical means, form the basis of the musical language.

Music literature, which is covered in vocal courses, deals with the study of music classics. It is not given to everyone to understand classical music, since it is "elite". This word comes from the word "elite", which means "the best", "the chosen one." Only the best and chosen people can understand classical music. But the perception and enjoyment of classical music requires preparation. Literature is a unique text that we learn to read from childhood. Music also has its own unique text and you also need to learn to understand it.

Also, music literature is a separate academic discipline, which is studied by high school students of music colleges and music schools. The study program for musical literature includes biographies of the best musical composers, both foreign and domestic, acquaintance with their unique work, as well as the study of individual well-known compositions.

Thanks to the wide distribution of musical literature, each novice student has the opportunity, with the help of a teacher or independently, to obtain the necessary information in order to increase music education and make learning more effective.

Municipal Autonomous Institution
additional education
"Children's Art School"
Zadonsky municipal district of Lipetsk region

Toolkit
For music departments of the Children's Art School

"Short Course in Music Literature"

Ages 8-16

Compiled by: teacher
music-theoretical disciplines
Komova Alla Vasilievna

Zadonsk
2015

"A short course in music literature" is intended to summarize the entire course of this subject in children's music schools. Here, all the basic information about composers, their most famous works are presented in a very concise manner, the main epochs in the world musical culture are briefly considered, the basic concepts of musical genres, forms and elements of musical speech are given.

1. Polyphony is polyphony. In a polyphonic work, there can be from two to five voices, each of which develops independently, but all of them are woven into one musical fabric. Polyphony was widespread during the Renaissance (16th - 17th centuries) by outstanding polyphonist musicians in the first half of the 17th century. were: German composers Georg Friedrich Handel, Georg Philip Telemann English - Henry Purcell, French composer Jean Battiste Lully.
In Italy, Antonio Vivaldi stood out. His violin concertos and the "Seasons" suite are widely known. In France, the most famous composers are harpsichordists: Jean Philippe Rameau, François Couperin, Louis Claude Daken. Harpsichord sonatas by the Italian composer Domenico Scarlatti are very popular now.
But the great German composer Johann Sebastian Bach (1685 - 1750) is rightfully considered the "father" of polyphony. His work is great and multifaceted.
Bach was born in the German town of Eisenach. He spent his childhood there, where he learned to play the organ, violin and harpsichord. From the age of 15 he lived independently: first in the city of Lüneburg, then, in search of work, he moved to the city of Weimar, where he served as an organist in the church and wrote here his best organ works: Toccatu and Fugu in D minor, organ choral preludes and fugue. Then he moves to the city of Köthen.
In Köthen, he served as court musician for the Prince of Köthen and wrote the best clavier works here: the 1st volume of the HTK (well-tempered clavier), 6 English and 6 French suites, inventions, Chromatic Fantasy and Fugue.
Bach spent his last years in Leipzig. Here he worked as the head of the school of singers (cantor) at the Church of St. Thomas and wrote many choral works: Mass in B minor, Passion according to John, Passion according to St. Matthew and other best examples of cantatas and oratorios. Here he wrote the 2nd volume of the WTC.

I.S. Bach became the creator of polyphonic music. No one wrote polyphony better than him. His three sons also became famous composers, but the name of Johann Sebastian Bach went down in the history of musical art for all time! His music is eternal and understandable to people - it is alive.

2. Vienna Classical School.

This is a creative direction in music of the late 18th - early 19th centuries, which developed in Vienna (the capital of the Austrian Empire). Three composers belong to him: Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven. A sonata-symphonic cycle was formed in their work. Their works are perfect in form and content (i.e. classical). That is why they were called the great Viennese classics.
The music of the composers of the Viennese classical school still remains an unsurpassed example of composition (classical - one of the meanings of the word - exemplary). School - here the concept of succession, i.e. continuation and improvement by one composer of the traditions and ideas of his predecessor.
The Viennese classics used a new musical structure (a way of expressing musical thought) - homophonic-harmonic, where there is a main melodic voice, and the rest of the voices accompany the melody (they accompany it). In their work, an 8-bar (square) period is formed. This is due to the use of Austrian and German folk themes. The harmony is dominated by the triads of the main steps T, S, D.

Joseph Haydn (1732-1809) was the oldest of the Viennese classics. In his work, the genres of sonata, symphony, concert and quartet were finally formed. He is called the "father" of the symphony (he has over 100 of them). His music is based on the themes of folk dances and songs, which he develops with the greatest skill. In his work, the composition of the symphony orchestra was also formed, consisting of three groups of instruments - strings, winds and percussion. Almost all his life he served as court musician for Prince Esterhazy, creating 104 symphonies, 52 sonatas, concerts and 83 quartets. But his 12 London symphonies, the oratorios “The Seasons” and “Creation of the World”, written in London at the end of his life, became the pinnacle.

The follower of Haydn's work was the German composer W.A. Mozart (1756-1791). His light music is still modern - a vivid example of classicism. From an early age he began to compose sonatas, symphonies and operas. Using Haydn's sonata-symphonic cycle, Mozart developed and enriched it. If in Haydn the contrast between the main and secondary parts is not expressed clearly, then in Mozart the main part is very different in character from the secondary part and the development (middle section) is therefore more saturated. Mozart's music with tremendous power conveys sorrowful tragic moods (Requiem), humorous images, and beautiful nature. Mozart's music is distinguished by beauty and grace. Mozart is the author of many operas, the most famous of which are: The Marriage of Figaro, The Magic Flute, Don Giovanni. He has about 50 symphonies (the most famous are G minor No. 40 and "Jupiter" No. 41), many sonatas, concerts for clavier, violin, oboe, flute, divertissements.

Ludwig
van
Beethoven (1770-1827) is the third Viennese classic.
The great German composer was born in Bonn. A contemporary of the Great French Revolution, he embodied in his music the rebellious pathos, the dream of freedom and the happiness of mankind. He created 9 symphonies (the most famous: C minor No. 5, No. 9), a number of overtures ("Coriolanus", "Egmont", "Leonora"); 32 sonatas ("Moonlight". No. 14, "Pathetic" No. 8, "Appassionata" No. 23, etc.) opera "Fidelio", 5 piano concerts, violin concerto and sonatas for violin, 16 string quartets. Beethoven's work is filled with tremendous energy, the contrast between the themes is very vivid, his music is dramatic and at the same time life-affirming and understandable for all people.

3. The era of romanticism in music.

Romanticism is a trend in art that arose at the beginning of the 19th century, at a time of reaction after the French bourgeois revolution. Art people at this time could not truly reflect reality and they had to either go into the world of fantasy or reflect the inner world of a person, his feelings and emotions.

In music, the first romantic composer was Franz Schubert (1797-1828), the great Austrian songwriter (he has over 600 of them).
In his youth, he had to experience many losses. Once in Vienna alone, he lived with friends and acquaintances and was full of hopes for a wonderful future. His songs during this period are light in content (cycle "The Beautiful Miller Woman"). But gradually he begins to understand that life is not so cloudless as it seemed to him that the fate of a musician is poverty and need. In the song "Organ-grinder" he painted his portrait of a singer thrown out by society. Gloomy moods are reflected in the cycle "Winter Path", "Swan Song". In the words of Goethe, such masterpieces as the ballad "The Forest Tsar", "Margarita at the Spinning Wheel" are written. Schubert's Serenade has become a part of the repertoire of famous singers. In addition to songs, Schubert also wrote 8 symphonies (the most famous is "Unfinished" in B minor No. 8 in two parts). He also has a lot of small piano pieces: musical moments, impromptu, ecoseses, waltzes.
Schubert died very early - at the age of 31, but with his works he managed to prepare the appearance of followers of his work.

One of them was the Polish piano composer Fryderyk Chopin (1810 - 1849).
His music is brilliant. Despite the fact that he wrote exclusively for the piano, he nevertheless opened a whole world - from the secret depths of human feelings to simple scenes of village life.
Turning to Polish national genres - mazurkas, polonaises, waltzes, he showed them from different sides. For example, his mazurkas can be ballroom, or they can resemble an unpretentious village dance. Polonaises are sometimes brilliant, sometimes tragic.
Waltzes are also very diverse in nature, and his etudes go beyond a purely technical work - these are already concert pieces - paintings. Chopin's preludes are small in size, but very different in shades of feelings touched in them. Chopin's nocturnes are examples of melody and harmony. Chopin is the creator of a new genre of piano music - the ballad genre. He also has sonatas. Chopin's funeral march is familiar to everyone - this is the third movement of the B minor sonata.
Frederic Chopin is a favorite composer of many pianists. Since 1927, the World Chopin Piano Competition has been regularly held in Warsaw.

The third romantic of foreign music is Robert Schumann (1810 - 1856).
This is the great German composer - a dreamer and an inventor. He had an amazing ability to portray portraits of people in music, often with humor. The piano cycle "Carnival" is his most famous work. He wrote many small pieces for piano, Album for Youth, Butterflies, 3 sonatas, Symphonic Etudes and other works.

4. Russian musical culture.

Mikhail Ivanovich Glinka (1804-1857)
The great Russian composer is the founder of national classical music.
After graduating from the university noble boarding school, he traveled a lot throughout Europe, studying music of foreign countries (Italy, Germany, Austria). Returning to his homeland, Glinka set out to create a Russian national music school and he managed to do it.
Glinka collected and processed Russian folk songs and wrote his works using their intonations, dressing them in strict classical forms.
Glinka is the author of about 80 romances and songs, including such masterpieces as "Doubt", "I remember a wonderful moment", "Skylark" and others.
His first opera on the historical plot "A Life for the Tsar" ("Ivan Susanin").
This opera gave rise to a branch of Russian historical opera (it became an example of this genre). Glinka's second opera is based on the story of Alexander Pushkin's fairy tale "Ruslan and Lyudmila". She laid the foundation for the Russian fairy tale opera.
In addition, "All Russian symphonic music is contained in Glinka's Kamarinskaya, like an oak in an acorn." - wrote PI Tchaikovsky. This is indeed the case. In addition to "Kamarinskaya" Glinka wrote two overtures on Spanish themes "Aragonese Jota" and "Night in Madrid", and his "Waltz-Fantasy" is an example of beautiful lyrics in instrumental music.
Summing up everything that had been created by Russian composers before him, Glinka raised Russian music to a qualitatively new level and achieved the recognition of Russian music at the world level.

Alexander Sergeevich Dargomyzhsky (1813 - 1869)
A follower and younger contemporary of Glinka, he went down in the history of Russian musical culture as the creator of socially accusatory works. Among them is an opera on the plot of Pushkin's tragedy of the same name "Mermaid", where the composer conveyed the tragedy of a simple peasant girl Natasha, abandoned by the prince, the grief of her father. Another opera is based on the text of Pushkin's little tragedy "The Stone Guest". This is also a socio-psychological drama. In his operas, Dargomyzhsky introduced a new principle of end-to-end musical development. It consisted in the fact that musical numbers: arias, ariosos, duets, choirs - smoothly and without stopping pass into recitative and vice versa, and the orchestral part often says what is not expressed in words.
Dargomyzhsky is the author of about 100 romances and songs. Among them are very popular: "I am sad", "Old corporal", "Titular councilor", "Worm" and others.
In his music, Dargomyzhsky relied on folk songs, but at the same time on the intonation of living human speech. “I want the sound to express the word directly. I want the truth! " - this is the creative credo of Dargomyzhsky.

In the second half of the 19th century, the rise of national art - literature, painting, music - began in Russia. It was at this time that a circle of like-minded musicians arose, called the "Mighty Handful" by the famous music critic Stasov. It is also called the "Great Russian Five" or "New Russian School".
The circle included 5 composers.
Its leader was Miliy Alekseevich Balakirev (1837-1910) - a bright figure, musical talent. His merit is that he collected and processed Russian folk songs. Balakirev did not create very many works. The most interesting of them are fantasy "Islamey", 8
Russian folk songs arranged for piano, about 50 romances.

Alexander Porfirevich Borodin (1833-1887)

- an outstanding scientist, chemist, teacher, composer. The author of the opera "Prince Igor" on the historical plot of the ancient Russian chronicle "The Lay of Igor's Campaign", the symphonic picture "In Central Asia", wonderful 2 quartets, 3 symphonies (the most famous 2nd is called "Heroic") and 18 romances. The composer embodied the epic epic of the Russian people in his work, and also illuminated the world of East Asia, with its beautiful melodies.

Modest Petrovich Mussorgsky (1839-1881) - composer-tribune, reflecting the life and history of the fair-haired people. His operas Boris Godunov, Khovanshchina, monumental folk musical dramas are the pinnacle of his work; the musical comedy based on Gogol "Sorochinskaya Fair" reveals vivid images of ordinary people; the cycle "Pictures at an Exhibition", the cycle of songs "Children's", "Songs and Dances of Death", romances are included in the repertoire of world theaters.

Caesar Antonovich Cui (1835-1918) - composer and music critic, author of fairy-tale operas "Little Red Riding Hood", "Puss in Boots", "Ivan the Fool", romances, songs, small piano pieces. His works are not as significant as those of other composers of The Mighty Handful, but he also contributed to the treasury of Russian music.

All the composers of The Mighty Handful were united by the fact that they were anxious about Russian folk song, striving to enrich Russian classical music, to elevate it on a global scale. All of them are followers of the great Russian classical composers M.I. Glinka and A.S. Dargomyzhsky.

References:
L. Bazhenova, L. Nekrasova, N. Kurchan, I. Rubinstein, "World Artistic Culture of the 20th Century: Cinema, Theater, Music" publ. Peter 2008
Gorbacheva E. "Popular History of Music" publ. "Veche" 2002
Mikheeva L. "Musical Dictionary in Stories" published. Moscow, "Soviet Composer" 1984
Privalov S. “Foreign Musical Literature. The era of romanticism "
published. "Composer" 2003
5. Prokhorova, I., Skudina, G. "Musical literature of the Soviet period"
published. "Music" 2003
6. Prokhorova, I. "Musical Literature of Foreign Countries"
published. "Music" 2003

7. Smirnova E. "Russian Musical Literature" publ. "Music" 2001
8. Encyclopedia for children. Volume 7. Art. Part 3. Music. Theatre. Cinema publ. CJSC "House of Books, Avanta +" "2000

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How to go to the opera and get only pleasure from it, not disappointment? How not to fall asleep during symphony concerts, and then regret only that it all ended quickly? How do you understand music that, at first glance, seems completely old-fashioned?

It turns out that any person can learn all this. Children are taught this at a music school (and very, I must say, successfully), but any adult can master all the secrets himself. A textbook of musical literature will come to the rescue. And there is no need to be intimidated by the word "textbook". As a textbook for a child, for an adult it is a “book of fairy tales with pictures”, which intrigues and bewitches with its “interestingness”.

About the subject "musical literature"

Perhaps one of the most interesting subjects taught by the students of the music school is music literature. In terms of its content, this course is somewhat reminiscent of a literature course, which is studied in an ordinary general education school: only instead of writers - composers, instead of poems and prose - the best musical works of classical and modern times.

The knowledge that is given in the lessons of musical literature develops erudition and unusually broadens the horizons of young musicians in the areas of music proper, domestic and foreign history, fiction, theater and painting. This knowledge also has a direct impact on the practice of music (playing the instrument).

Musical literature should be studied by everyone

Proceeding from the exceptional usefulness, the course of musical literature can be recommended for adults or aspiring self-taught musicians. No other music course gives such completeness and fundamental knowledge about music, its history, styles, eras and composers, genres and forms, about musical instruments and singing voices, methods of performance and composition, expressive means and possibilities of music, etc.

What exactly do they take in the music literature course?

Music literature is a compulsory subject in all departments of the music school. This subject is held for four years, during which young musicians get acquainted with dozens of various works of art and music.

First year - "Music, its forms and genres"

The first year, as a rule, is devoted to stories about the main musical means of expression, genres and forms, various types of orchestras and ensembles, about how to listen and understand music correctly.

Second year - "Foreign Musical Literature"

The second year is usually aimed at mastering a layer of foreign musical culture. The story about her begins from antiquity, from the moment of inception, through the Middle Ages, to major composer personalities. The six composers are singled out in separate major topics and studied in multiple lessons. This is a German composer of the Baroque era, three "Viennese classics" - J. Haydn, V.A. Mozart and L. van Beethoven, romantics F. Schubert and F. Chopin. There are quite a few romantic composers, there is not enough time to get acquainted with the work of each of them in school lessons, but a general idea of ​​the music of romanticism, of course, is given.

Wolfgang Amadeus Mozart

Judging by the works, the textbook of musical literature of foreign countries acquaints us with an impressive list of various works. This is the opera Le Nozze di Figaro based on the plot of the French playwright Beaumarchais, and as many as 4 symphonies - Haydn's 103rd (the so-called Timpani Tremolo), Mozart's 40th famous symphony in G minor, Beethoven's symphony No. 5 with its theme of fate "And" Unfinished Symphony "by Schubert, Beethoven's overture" Egmont "is also played from major symphonic works.

In addition, piano sonatas are studied - Beethoven's 8th "Pathetic" Sonata, Mozart's 11th Sonata with its famous "Turkish Rondo" in the finale and Haydn's radiant D major sonata. Among other piano works, the book introduces etudes, nocturnes, polonaises and mazurkas by the great Polish composer Chopin. Vocal works are also studied - Schubert's songs, his brilliant prayer song "Ave Maria", the ballad "The Forest Tsar" to the text of Goethe, everyone's favorite "Evening Serenade", a number of other songs, as well as the vocal cycle "The Beautiful Miller Woman".

The third year "Russian musical literature of the XIX century"

The third year of study is entirely devoted to Russian music from its earliest times to almost the end of the 19th century. The initial chapters about folk music, church singing, the birth of secular art, the great composers of the classical era - Bortnyansky and Berezovsky, the romance work of Varlamov, Gurilyov, Alyabyev and Verstovsky - touch on all kinds of questions.

Figures of six major composers are again put forward as central ones: A.S. Dargomyzhsky, A.P. Borodin, M.P. Mussorgsky, N.A. Rimsky-Korsakov, P.I. Tchaikovsky. Each of them appears not only as a brilliant artist, but also as a unique person. So, for example, Glinka is called the ancestor of Russian classical music, Dargomyzhsky - the teacher of musical truth. Borodin, being a scientist-chemist, composed music only "on weekends", and Mussorgsky and Tchaikovsky, on the contrary, left the service for the sake of music at one time, Rimsky-Korsakov set off on a voyage around the world in his youth.

M.I. Glinka opera "Ruslan and Lyudmila"

The musical material that is mastered at this stage is extensive and serious. During the year, a whole series of great Russians passes through: "Ivan Susanin", "Ruslan and Lyudmila" by Glinka, "Rusalka" by Dargomyzhsky, "Prince Igor" by Borodin, "Boris Godunov" by Mussorgsky, "Snegurochka", "Sadko" and "The Tale of Tsar Saltan "Rimsky-Korsakov," Eugene Onegin "by Tchaikovsky. Getting acquainted with these operas, students involuntarily come into contact with the literary works that form their basis. Moreover, if we talk specifically about the music school, then these classical works of literature are recognized earlier than they are taught in a general education school - is this not a benefit?

In addition to operas, many romances (Glinka, Dargomyzhsky, Tchaikovsky) are studied during the same period, among which there are again those written on the verses of great Russian poets. There are also symphonies - "Heroic" by Borodin, "Winter Dreams" and "Pathetic", as well as Rimsky-Korsakov's brilliant symphonic suite - "Scheherazade" based on the fairy tales "A Thousand and One Nights". Among the piano compositions, one can name large cycles: "Pictures at an Exhibition" by Mussorgsky and "The Four Seasons" by Tchaikovsky.

The fourth year - "Domestic music of the XX century"

The fourth book on music literature corresponds to the fourth year of the subject. This time, the interests of students are concentrated in the direction of national music of the XX and XXI centuries. Unlike previous editions of textbooks on musical literature, this last one is updated with enviable regularity - the material for study is completely redrawn, filled with information about the latest achievements of academic music.

S.S. Prokofiev ballet "Romeo and Juliet"

The fourth issue tells about the achievements of such composers as S.V. Rachmaninov, A.N. Scriabin, I.F. Stravinsky, S.S. Prokofiev, D.D. Shostakovich, G.V. Sviridov, as well as a whole galaxy of composers of the most recent time or modern times - V.A. Gavrilina, R.K. Shchedrin, E.V. Tishchenko and others.

The range of works analyzed is expanding unusually. It is not necessary to list all of them, it is enough to name only such masterpieces as Rachmaninov's beloved Second Concerto for Piano and Orchestra in the whole world, the famous ballets of Stravinsky (Petrushka, The Firebird) and Prokofiev (Romeo and Juliet, Cinderella ")," Leningrad "symphony of Shostakovich," Poem in memory of Sergei Yesenin "by Sviridov and many other brilliant works.

What textbooks on music literature are there?

To date, there are not many options for textbooks on musical literature for the school, but still there is "variety". One of the very first textbooks, according to which they studied en masse - books from a series of textbooks on musical literature by the author I.A. Prokhorova. More modern popular authors - V.E. Bryantseva, O. I. Averyanov.

The author of textbooks on musical literature, according to which almost the whole country is studying now, is Maria Shornikova. She owns textbooks for all four levels of school education in the subject. It's nice that in the latest edition, the textbooks are also supplied with a disc with a recording of the best performances of the passable works - this is how the question of finding the necessary musical material for lessons, homework or for independent study is solved. Lately there have been many other excellent books on music literature. I repeat that such textbooks can be read with great benefit by adults.

These textbooks quickly fly in stores, they are not so easy to get. The thing is that they are published in very small editions and instantly become a bibliographic rarity. So that you do not waste your time looking, I suggest order the entire series of these tutorials directly from this page at publisher prices: just click on the "Buy" button and place your order in the appeared window of the online store. Next, select a payment and delivery method. And instead of walking around bookstores for an hour looking for these books, you get them in just a couple of minutes.

Let me remind you that today, somehow by chance, we started a conversation about the literature that will be useful to any novice musician or just someone who is interested in classical music. Yes, let them be textbooks, but try to open them, and then look away from reading?

Music textbooks are some kind of wrong textbooks, too interesting to be called just textbooks. Future crazy musicians use them to study in their crazy music schools, and at night, when young musicians are sleeping, these textbooks are enthusiastically read by their parents, because it's interesting! Here!